Theater Review: "The World Goes ‘Round: The Songs of Kander & Ebb" at Musical Theater of Connecticut

The cast of The World Goes Round: The Songs of Kander & Ebb
at Music Theatre of Connecticut

Music Theatre of Connecticut opened their 28^th season in their new Melissa & Doug Theatre in Norwalk with a re-imagined production of The World Goes ‘Round: The Songs of Kander & Ebb. This highly enjoyable revue of some of the greatest hits of the creators of Chicago, Cabaret, and Kiss of the Spider Woman is more than just a fascinating trip down memory lane. With a talented cast of musicians and an uber-talented cast of performers, this show will captivate and delight anyone who loves musical theater.

Imaginatively directed by Artistic Director Kevin Connors, with musical direction by David John Madore and choreography Jeri Kansas, the MTC production avoids the pitfalls of many musical revues. This production is set in a summer stock theatre in Vermont, with characters returning for the first time. For the most part, rather than just being a bunch of people standing around singing a bunch of songs, and succumbing to schmaltzy shtick, the characters all have unique relationships and emotional journeys, which allows them to plumb the depths of emotions that underscore the Kander and Ebb musical catalog. It is a relief that songs like “And the World Goes Round,” “Colored Lights,” and “Mr. Cellophane” do not lose their dramatic edge. It is also a relief to watch real choreography when it comes to numbers like “All That Jazz” and “Ring Them Bells.” And the comedy is certainly not lost with numbers like “Sara Lee” and “The Grass is Always Greener.”

Admittedly, I loved the first half of the production just a bit more than the second half.  In Act One, the performers act out and dance through the songs while highlighting their internal dialogues and interpersonal relationships. At the beginning of Act Two, when the women come out in their sparkly show dresses, and the men in tuxedo pants and pressed shirts, warning flags immediately went up for me, signifying that we were entering the slick show biz danger zone. 

What kept it together were the beautiful voices, and strong performances by talented cast members Kathy Calahan, Melissa Carlile-Price, Eric Scott Kincaid, Trisha Rapier, and Aaron Young. An especially touching montage included the songs “We Can Make It,” “Maybe This Time,” and “Isn’t This Better?”

When the first strains of “Cabaret” started, again the warning flags went up, especially with Mr. Kincaid singing, “I used to have this girlfriend known as Elsie…” I wondered whatever happened to Sally Bowles and I braced myself for something awful as the music tempo switched to something that was not quite the “Cabaret” that I know and love. I was more than pleasantly surprised by a vocal swing type version of the song that had such tight harmonies and strong vocals that I could not help but like it. 

So by the time the show wound up for the finale performance of “New York, New York” not only was I ready for the big show biz finish, but I wanted to see that kick line, and to see that song treated like the Broadway anthem that it is. I was not disappointed, and I ended up singing along and leaving the theater a very satisfied and happy camper. 

The World Goes Round runs through November 23 at the Melissa and Doug Theatre in Norwalk. Tickets range from $30 - $50, with $5 off for seniors and students.  Reservations are suggested. Call 203-454-3883 or visit www.musictheatreofct.com for tickets. 

Square One Theatre Company Invites You to "A Walk in the Woods"

L-R: Damien Long and Pat Leo in A Walk in the Woods by Leo Blessing

Square One Theatre Company is opening its 25^th anniversary season with a new production of the play A Walk in the Woods, by Leo Blessing. Directed by Square One Artistic Director, Tom Holehan, this play combines comedy and drama to give an intelligent and compelling look at the delicate art of arms negotiations between Russian and American diplomats.

A Walk in the Woods is set on a park bench, in a forest on the outskirts of Geneva, where the two negotiators can talk informally after hours at the negotiation table. As envisioned by set designers Greg Fairbend and Robert Mastroni, and with lighting by Clifford Fava, this pleasant little respite place is peaceful and inviting.

  

This was the first play to be produced by the company in 1990 and its revival is still relevant today. The surprise twist to this production is that actor Pat Leo, who played the American negotiator in the 1990 production, is back, this time cast as the older Russian diplomat, Andrey Botvinnik. Making his Square One debut as the American negotiator, John Honeyman, is Damien Long.

A Walk in the Woods can be challenging for the actors chosen to fill the roles of the play’s only 2 characters. With all the dialogue and action of the play resting on their shoulders, Mr. Leo and Mr. Long prove themselves to be more than up to the task. Their embodiment of the adversaries on both sides of the negotiating table, each with a different history, level of experience, and negotiation style, is superb and they both give finely nuanced performances that clue us in to their distinct personalities and developing relationship. 

Mr. Leo’s Botvinnik is far from the hard-lined Soviet that we might expect. On one hand, he is a little world-wearier and a lot more cynical when it comes to the negotiating game but on the other hand, he is also personable, like an experienced old uncle who is willing to share stories, tell jokes, and serve as a guide, from manipulating the press to navigating the political arena, to the relatively inexperienced Mr. Honeyman. He is able to gain audience sympathy and trust early on, with his simple request that he and Mr. Honeyman become friends. Botvinnik’s negotiation bag-of-tricks includes dissembling, abruptly changing the subject, feigning to forget things, telling jokes, and being charming.

Mr. Long’s Honeyman is a compelling contrast to the easy-going, comfortably familiar Botvinnik. Where Mr. Leo gets all the funny lines, Mr. Long delivers some of the play’s most spirited monologues. Honeyman, while an advocate of facts, numbers, and data, embodies youthful passion and idealistic virtue. He does not want to be friends; he wants to get down to the business of saving the world. Nuclear disarmament is not a game to him, and his frustration at the lack of reaching an agreement is palpable.

This important play is not only a compelling piece of dramatic literature, it touches on issues of nuclear disarmament, arms negotiation, and the political history and relationship between the United States and Russia. It is also a piece about forming relationships, whether it is a working relationship between adversaries or a genuine friendship that can cross idealist divides. At the end of this play, heated words are spoken out of disappointment and frustration but I like to believe that ultimately friendship prevails.

 

A Walk in the Woods runs through November 22 at the Stratford Theatre in Stratford, Connecticut. Performances are Fridays and Saturdays, November 14, 15, 21, 22 at 8:00 pm, Sunday, November 16 at 2:00 pm and a special twilight matinee on Saturday, November 22 at 4:00 pm. Tickets are $20 for adults, $19 for seniors and students. Call 203-375-8778 or visit www.squareonetheatre.com for tickets.

Theater Review: "God of Carnage" at Darien Arts Center

Do you ever fantasize about forgetting the niceties and showing people how you really feel? Keeping it real, uncensored and unforgiving? Does the thought of telling it like it is without censure bring a Cheshire cat smile to your face? Then Darien Arts Center’s production of Yasmina Reza’s God of Carnage is the play for you. This refreshingly feral and ferociously funny show just might be the cathartic release you need. Running through November 22, this delightful exploration of what lies beneath the façade of civility among the upper middle class is a brutally honest look at the instinctual animal natures that manners and etiquette merely mask.

Lawrence Reina, Jessie Gilbert, Eileen Lawless, and Gary Betsworth in
God of Carnage at Darien Arts Center
Photo credit: Jeffrey R. Wyant

God of Carnage tells the story of a meeting between two sets of parents whose children were involved in a playground incident that resulted in a fat lip and the loss of two teeth. This meeting devolves into an unfiltered and uncensored confrontation that strips away pretention, revealing the true nature of the couples and the individuals involved. Parents will find it easy to relate to the situation, and we can also easily recognize the traits and characteristics of each individual member of these couples.

Under the brilliant direction of Mark Graham, this play is also a seamlessly fluid study in small group dynamics as the parties take sides, alliances are sundered and reformed in various permutations, and the adults end up acting like the very children they are meant to defend. Under Mr. Graham’s vision, the simple, yet elegant set designed by David Eger becomes more than just the living room of a well to-do couple; it represents a playground setting where the adults form and reform their own cliques, gang up on or strike out against each other, have tantrums, argue, and eventually strike an uneasy truce. With creative blocking, the temporary alliances and images of these adults in conflict are memorable.

The strong cast brings these couples realistically to life, in all their full three-dimensional glory. Gary Betsworth and Eileen Lawless convincingly play Michael and Veronica Novak, the parents whose child was struck. It is evident from early on that Veronica is the dominant individual in this couple, and Ms. Lawless is perfect in the role. She is the epitome of the pretentious and judgmental parent whose dictates and suggestions to the ‘offending’ parents seem to be an indictment against their parenting style. To Veronica, this is more than just a playground scuffle – her perfect son has been disfigured due to thuggish behavior brought on by poor parenting and neglect. Her contempt is thinly veiled in polite smiles and condescension. Ms. Lawless is so good at playing the role, that at one point, I threw up my hands in frustration, wanting to smack her myself. Well done!

Like his character, Mr. Betsworth’s portrayal of Michael starts out slow and grows over the course of the play. As the peacemaker and more conciliatory member of the couple, Michael is easily overlooked at the start, but as the play progresses, we learn more and more about the character, and Mr. Betsworth is able truly inhabit Michael’s world. Not to be dismissed, we learn that Michael is rude, has a racist attitude toward the children of Darfur whose plight is his wife’s chosen cause of the moment, hates children and parenting, was a former “gang” member in the loosest sense of the word, and is, to the horror of all, a hamster murderer. It is fun to watch Mr. Betsworth as he finally lets loose, allowing a glimpse of the real Michael that has been kept under wraps, and his wife’s domineering nature, for what we suspect has been a long frustrating marriage.

On the other side of the playground kerfuffle are Annette and Alan Raleigh, the parents of the boy who wielded the stick that took out the Novak son’s teeth, perfectly played by Jessie Gilbert and Lawrence Reina. Alan is a high-powered pharmaceutical attorney in the midst of a business crisis, and Annette is his mousy, quiet wife who is left to deal with most matters regarding their child and home. Annette, we learn, is subject to panic attacks that cause her to throw up and Alan seems to have more of a relationship with his cell phone than to his wife and child.  

Besides a convincing portrayal of a woman who seems to suddenly grow a spine to defend her child, Ms. Gilbert deserves special recognition for acting out a hysterical, yet squeamishly realistic, vomit episode. Mr. Reina deserves special recognition for his non-verbal displays of incredulity and frustration at being put in the uncomfortable situation of defending his son for what amounts to rough child’s play to begin with, and for having to put up with the Novaks’ pretentiousness. At one point, Alan throws Veronica a look that says, “Who the (fill in the blank) do you think you are?” It is priceless.

This dark comedy is not for everyone. If your tastes run more to nice, polite, old-fashioned manners and ideals, do not see this play. Although brilliantly rendered, hysterically funny, and highly entertaining, God of Carnage contains strong language, profanities, and adults acting like unruly and petulant children. Look closely and you may even find that it is a reflection of your own hidden dark side.

God of Carnage runs through November 14, 15, 21, & 22 at 8:00 pm and November 16 at 2:00 pm at Darien Arts Center, 2 Renshaw Road, behind the Town Hall, Darien.  Tickets are $20. Call 203-655-5414 or visit www.darienarts.org for tickets.  

ASSASSINS Opens at the Bijou Theatre in Bridgeport

The Tony Award-winning musical, Assassins, opens on Friday at the Bijou Theatre in Bridgeport.  Based on the book by John Weidman with music and lyrics by Stephen Sondheim, Assassins examines the motivations of the men and women who have killed — or attempted to kill — United States Presidents throughout history. More than just a rogue’s gallery of the infamous men and women who were bent on changing history, this musical review features the likes of John Wilkes Booth, Lee Harvey Oswald, John Hinckley and others who meet and interact in this revue-style musical.

This is not the usual content for a musical, and its dark commentary on American politics is part of what drew the Bijou’s Artistic Director Maggie Pangrazio to the piece.  “I think, given the recent political climate and mid-term election season, it's the perfect show to put on our stage at this time. With a little history and a lot of edge, Assassins will have you rooting for the bad guys and thinking about important issues, while providing a fun and entertaining night of quality theatre!”

Director Kevin Pelkey says he was drawn to the piece not only for its dark themes but also for the “ingenious way the characters are thrown together in their different situations.” He hopes that audiences will be able to see the assassins as real people, even if they were crazy and desperate. “I am not saying that I want people to sympathize with them but know where they were coming from.”

Both agree that this ensemble show gives local actors a chance to shine. Ms. Pangrazio explains, “We chose Assassins as part of our inaugural season because it's a show that focuses on strong performances, and features many cast members.  In an attempt to introduce ourselves to the community as a new source of live theatre, we wanted to display our strongest asset — local talent.” According to Mr. Pelkey, the actors and crew at the Bijou are great to work with, and he really believes that “they are going to kill audiences with their performance.”

Assassins runs November 7- 8 at 8:00 pm, November 14 at 8:00 pm, November 15 at 3:00 pm & 8:00 pm, and November 16 at 5:00 pm. Theatre seat pricing is $23, or $18 for students and seniors, and table seating is $28. Call 203-322-3228 or visit The Bijou Theatre for tickets.

Theater Review: Thornton Wilder's 'Our Town' at Long Wharf Theatre

New Haven's Long Wharf Theatre launches its 50th anniversary year with a newly visualized production of Thornton Wilder's classic play, Our Town. Written in 1938, Our Town is a wistful look at small town American life, capturing the beauty in the details of the day to day lives of ordinary people, and focusing on the commonality of the human experience. Set in the fictional New Hampshire town of Grover’s Corners, Our Town celebrates the universal themes of love, family, constancy and stability, and teaches us to appreciate every day because our short lives are fleeting. It also points to the artificiality of theater itself, with characters that break in and out of the fourth wall with ease, drawing audiences in with feelings of concern and participation in the lives of the characters. Winning the Pulitzer Prize for Drama, Our Town has gone on to become one of the most produced plays by community theaters and high schools throughout the country.

Our Town is a play in 3 acts that depicts the everyday lives of the inhabitants of Grover’s Corners from 1901 through 1913. It is a celebration daily living, love and marriage, death and dying. With minimal sets and props, the actors are forced to pantomime much of what takes place on the stage and luckily the superb Long Wharf cast members are up to the challenge. Nothing is missed as they act out cooking meals, delivering papers, milk deliveries, playing ball, a town hall type meeting, a visit to the local ice cream parlor, and even a funeral.

Led by the Stage Manager, excellently played by Myra Lucretia Taylor, the strong cast of actors are all achingly believable in their longings, worries, activities and desires. It is difficult not to be drawn into their characters’ lives and we can easily imagine each as a very real person that we know or wish to have known in our lifetimes. Standouts include Jenna Leona as Emily Webb, and Leon Addison Brown and Christina Rouner as Emily’s parents. Also notable are Rey Lucas as the boy next door, George Gibbs, and Don Sparks and Linda Powell as George’s parents, Dr. & Mrs. Gibbs. In addition to the cast, members of the greater New Haven community also appear as additional townspeople. 

Although the play takes place between 1901 through 1913, the Long Wharf production dresses its multi-cultural cast in modern clothes, as if they could have been anyone who walked in off the street. While this is certainly a celebration of today's New Haven community, it presents a kind of disconnect in terms of some of actions and values that the play espouses. I cannot imagine that in today's day and age, it would be wise for someone to forgo college in order to be with the one he loves, nor would I advocate marrying right out of high school to start a family. These romantic notions work well within the context of the play, but do not feel realistic for our time.

On the other hand, the way this play depicts the afterlife does not coincide with my ‘romantic’ ideals of heaven. In Thornton Wilder’s vision, you do meet those who have gone on before you, but there is such a dispirited detachment from human emotion and life as we know it, that I was disappointed. As depicted on the stage, there was no joy, no feelings of boundless love or even of souls being a part of something greater; the dead were just waiting around to feel something eternal. The bored and often disappointed and disapproving looks on their faces when contemplating the living was in itself chilling – like watching limbo in hopes that heaven soon would be here. It made me sad for the dead.

One of the interesting aspects of Our Town is that it is a play that grows on audiences over time. I've heard young teens refer to it as, 'that really long play that goes on and on, and nothing happens,' while older fans say that they have 'come to appreciate this show more and more, the older I get.' This shift in perspective certainly has to do with experience and is played out on the stage by the character Emily Webb, who only learns the value of life after her own untimely demise. This can be a tough lesson for younger audiences to embrace. I also suspect that part of the age difference in appreciation for this play comes from feelings of nostalgia or even fantasy about living a simpler, calmer, and more stable life free from the ever increasing stresses of today's world.

Despite its minor disappointments, I urge theater-goers to act quickly to see this classic American show. Our Town runs through November 2. With one weekend left, hurry and call 203-787-4282 or visit Long Wharf Theatre for tickets.

Theater Review: 'Intimate Apparel' by Lynn Nottage at Westport Country Playhouse

Nikki E. Walker in Intimate Apparel at Westport Country Playhouse
Photo Credit: Carol Rosegg

Westport Country Playhouse saved the best for last as they close out their 2014 season with Pulitzer Prize winner Lynn Nottage’s Intimate Apparel. This powerful and engaging play, which received the American Theatre Critics and New York Drama Critics’ Circle Awards for Best Play, is a more than a simple love story. It explores race and class divisions, highlighting the triumphs and tragedies of those who live on the fringes of society in 1905 as they create and maintain personal connections while carving their paths in the world. Featuring compelling characters that have been perfectly cast, an ingenious set design by Allen Moyer, and solid direction by Mary B. Robinson, this surprising show is a pleasure to watch from start to finish.

Intimate Apparel tells the story of Esther, a single, African American seamstress who has risen above her limited, uneducated background and created a career for herself by designing and sewing corsets for women. Catering to uptown ladies of leisure as well as to the downtown ladies of the evening, Esther has managed to save some money toward her ultimate goal of owning a salon. But at the age of 35, and still single, she is feeling lonely and afraid that she will never find someone to share her life with.

Esther’s hopes are raised when she receives a letter from George, a worker on the Panama Canal, and she begins a romantic correspondence with him with the help of her friends, which eventually leads to marriage. When George does not turn out to be the man she hoped for, Esther learns a great deal about friendship, love, sacrifice, self-worth, and the cost of compromising your dreams.

Allen Moyer’s set is an important element of the play, and a visual expression of the compartmentalization of Esther’s world. Each panel of the set belongs to a different part of Esther’s life: there’s the upper level panel of one of Esther’s uptown clients, Mrs. Van Buren; the small apartment of Mr. Marks, the Orthodox Jewish merchant Esther buys her cloth from; Esther’s living space with her boarding house landlady Mrs. Dickson, and later with her husband George; and the boudoir of Mayme, Esther’s prostitute friend. Esther is the common thread weaving in and out of these separate compartments, and her relationships and connections with the inhabitants of these differing sections drive the play forward.

Mrs. Dickson, played by Aleta Mitchell, is not only the boarding house landlady, but also the house gossip and busybody. However, Ms. Mitchell imbues her character with such warmth and motherly affection that we know that her meddling comes purely from the heart, and her words of warning and wisdom serve as motherly advice from a kind and well-meaning matriarch.

Leighton Bryan is excellent as Mrs. Van Buren, the wealthy client stuck in a loveless marriage. She evokes our sympathy when she talks about her wayward husband and inability to have a child, and our laughter as she remarks on the irony of writing love letters to a stranger in Panama as she helps Esther with her correspondence. Heather Alicia Simms is also excellent as Esther’s best friend, Mayme. Although she is a talented pianist, Mayme, unlike Esther, did not rise above her impoverished upbringing and works as a prostitute. Ms. Simms earns our laughter with her bawdy sense of humor and our trust through her honest portrayal of love and affection for her friend.

The male characters are also character opposites. Tommy Shrider plays Mr. Marks with self-deprecating humility, and his affection for his favorite customer is filled with such tenderness and spirituality that it is difficult not to yearn for their impossible relationship to blossom. He is the man you want to win Esther’s heart. Isaiah Johnson plays George, the canal worker who woos Esther with words, and whose earthy sexuality and male-chauvinistic need to dominate becomes his undoing.

The star of the show of course is the central character, Esther, movingly portrayed by Nikki E. Walker. Despite her illiteracy, Esther is the kind of character that audiences can love: she is loyal, humble, frugal, religious, and ambitious. She works hard at her trade to achieve her dreams. Honest to a fault, her wry observations provide some of the play’s funniest and some of its most telling lines, pointing out societal boundaries that should not be crossed. Although her head is turned by romantic entanglements, she is very smart, and uses her brains to uncover the real nature of those around her. Ms. Walker adds a layer of grace to Esther’s subtle humor and honest emotions, making her more than just the main character; in rising above her circumstances, Esther becomes a heroine to be admired and emulated.

Some may see Esther’s fate as a tragedy, while others will see it as a triumph of steadfast self-awareness and adherence to one’s dreams. Either way, Intimate Apparel is a triumph for Westport Country Playhouse. This show runs through November 1. Visit Westport Country Playhouse for tickets.

Local Theaters Offer Music for All Generations

There’s something for everyone this upcoming weekend as local theater groups present musicals highlighting songs from the 30’s through the 60’s. All generations will love these offerings from the Connecticut Playmakers in Old Greenwich, the Carriage House Arts Center in Norwalk, and the Bridgeport Theatre Company. Pick your era and join the fun!

If you are looking for great selections from the American Songbook, look no further than Sing for Your Supper, a fully staged musical revue featuring the songs of Richard Rogers and Lorenz Hart. Rodgers and Hart wrote over 500 songs for 26 Broadway musicals. In Sing for Your Supper, 21 performers sing and dance their way through over 40 of the best of Rodgers and Hart’s classics, including “Johnny One Note,” “Sing for your Supper,” “Blue Moon,” “Bewitched, Bothered and Bewildered,” “Where or When,” “The Lady is a Tramp,” and the quirky, comedic “To Keep My Love Alive.” The cast features the talented Patric Hale who is a winner of New York City’s Mario Lanza Competition and Westport native and soprano Lucia Palmieri who had her sold-out solo debut in Carnegie Hall in 2006, has performed with the New York City Grand Opera, and has been featured in shows on Bravo and ESPN.

Lucia Palmieri, Martin Diamond and cast of Sing for Your Supper
Photo Credit: Jeffrey R. Wyant

Director Donna McLaughlin Wyant, has produced shows featuring Tony Bennett, Donna Summer, Natalie Cole and the Irish Tenors, and is an Emmy and Clio-award-winning producer. Music Director Chris Coogan-has been hailed by The New York Times as “a masterful pianist,” and has played with Bette Midler, Donna Summer, Ronnie Spector, Phoebe Snow, Jose Feliciano, James Naughton, Broadway stars Kristen Chenoweth, and Kelli O’Hara. Chris is also the founder and music director of The Good News Gospel Choir, a 50-voice, multi-denominational singing group that performs in Churches and venues in New York and Connecticut.

Sing for Your Supper runs each weekend through October 26^th at the First Congregational Church Auditorium, 108 Sound Beach Avenue, Old Greenwich, CT. For reservations call (203) 249-5419, or order online: Connecticut Playmakers.

If 1950’s pop music is more your speed, you can go to The Marvelous Wonderettes at the Carriage House Arts Center in Norwalk. This smash off-Broadway show, written and created by Roger Bean, takes you to the 1958 Springfield High School prom, where songleaders Betty Jean, Cindy Lou, Missy and Suzy, rally together to entertain their classmates in four-part harmony. 

The cast of the Marvelous Wonderettes 

You’ll want to sing along with cast members Lauren Jacob, Candice Sisbarro, Dainelle Testori-Gartner and Melinda Zupaniotis as they don their best starched crinolines and bouffant hairdos and lead you through songs like “Lollipop,” “Dream Lover,” “Stupid Cupid,” “Lipstick on Your Collar,” “Hold Me, Thrill Me, Kiss Me,” “It’s My Party,” "Respect" and over 20 other classic hits. Directed and choreographed by Lauren Nicole Sherwood, with musical direction by Dan Ringuette, this nostalgic walk down memory lane is sure to be a hit! 

The Marvelous Wonderettes runs until November 1^st at the Carriage House Arts Center, 390 Grumman Avenue, Norwalk, CT.  Call 203-229-9797 or visit Carriage House Arts Center for tickets.

If you are looking for a grittier, socially conscious experience, then join the be-in lovefest that is Hair, now being presented by the Bridgeport Theatre Company at the newly renovated Downtown Cabaret Theatre. This classic rock musical is at once both a joyous celebration of youth and a poignant journey through a tumultuous 1960s America. This exuberant musical about a group of teenagers searching for truth, peace and love in the Vietnam War era has struck a resonant chord with audiences of all ages.  

Marques Christopher and the cast of Hair
Photo Credit: KevinMcNairPhotography

Under the musical direction of Eli Newsom, Hair features an extraordinary, vocally strong, multi-cultural cast singing a long list of chart topping hit songs, including “Aquarius,” “Let the Sun Shine In,” “Good Morning, Starshine” and “Easy To Be Hard.” Director and choreographer Lance Gray has lead the local cast members through some of their strongest performances to date. Along with the colorful and authentic costumes by Jessica Camarero, and the beautiful new Cabaret lighting designed by Hugh Hallinan and Phill Hill, Bridgeport Theatre Company’s Hair is as visually stunning as it is entertaining.

But be warned: this show is recommended for ages 13 +; it includes simulated drug use, brief nudity, profanity, questioning of religion, blatant sexual positioning, and refusal of authority. But for those with the maturity to handle that, or who can look back nostalgically at this era full of energy, love, beads, flowers and happiness…enjoy!

Hair runs through October 25^th at the Downtown Cabaret Theatre, 263 Golden Hill Street, Bridgeport, CT. Call 203-576-1636 or visit Bridgeport Theatre Company for tickets.